Mary Masters, “To Lucinda”

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MARY MASTERS

“To Lucinda”

 LUCINDA, you in vain disswade
Two Hearts from mutual Love.
What am’rous Youth, or tender Maid
Could e’er their Flames remove?

What, if the Charms in him I see                                      5
Only exist in Thought:
Yet CUPID’S like the Medes Decree,
Is firm and changeth not.

Seek not to know my Passion’s spring,
The Reason to discover:                                            10
For Reason is an useless Thing,
When we’ve commenc’d the Lover.

Should Lovers quarrel with their Fate,
And ask the Reason why,
They are condemn’d to doat on That,                              15
Or for This Object die?

They must not hope for a Reply,
And this is all they know;
They sigh, and weep, and rave, and die,
Because it must be so.                                                20

LOVE is a mighty God you know,
That rules with potent Sway:
And, when he draws his awful Bow,
We Mortals must obey.

Since you the fatal Strife endur’d,                                     25
And yielded to his Dart:
How can I hope to be secur’d,
And guard a weaker Heart?

NOTES:

1 disswade Variation of dissuade “to give advice against” (OED).

7 CUPID’S The Roman God of love, son of Venus; often appears as an infant with wings carrying a bow, and arrows that have the power to inspire love in those they pierce (Encyclopædia Britannica); Medes Decree Refers to the laws of the Medes and Persians, “Medes” being an ancient Indo-European people whose empire encompassed most of Persia; in the Bible, “laws of the Medes” is a proverbial phrase meaning, “something that is unalterable” (OED).

21 LOVE The God of love, Cupid.

22 Sway “Power” (OED).

Source: Poems on Several Occasions (London: T. Browne, 1733), pp. 151-53.  [Hathi Trust]

Edited by Brittany Kirn

Stephen Duck, “On Music”

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STEPHEN DUCK

 “On MUSIC”

 I.

MUSIC the coldest Heart can warm,
The hardest melt, the fiercest charm;
Disarm the Savage of his Rage,
Dispel our Cares, and Pains assuage;
With Joy it can our Souls inspire,                                                  5
And tune our Tempers to the Lyre;
Our Passions, like the Notes, agree,
And stand subdu’d by Harmony.
This found the melancholy King,
When David tun’d the trembling String:                                     10
Sweet Music chas’d the fullen Spleen away,
And made his clouded Soul serenely gay.

II.

WHILE Music breathes in martial Airs,
The Coward dares forget his Fears;
Or, if the Notes to Pity sound,                                                     15
Revenge and Envy cease to wound:
The Pow’r of MUSIC has been known,
To raise or tumble Cities down:
Thus Theban Turrets, Authors say,
Were rais’d by MUSIC’s Magick Lay;                                            20
And antient Jericho’s Heav’n-hated Wall,
To sacred MUSIC, ow’d its destin’d Fall.

III.

NOR Mortals only MUSIC love;
It chears celestial Saints above:
Sweet Hallelujahs Angels sing                                                      25
Around their great Ethereal King;
CeaslessCeasless they sound the FATHER’S Praise,
The FATHER too approves their Lays;
For HE (as all Things) MUSIC made,
And SERAPHIMS before Him play’d:                                            30
When over Horeb’s Mount He came,
Array’d in Majesty and Flame;
After the sounding Trump, sublime, He rode;
The sounding Trump proclaim’d the’ approaching GOD.

IV.

MUSIC had Being, long before                                                     35
The solemn Organ learnt to roar:
When MICHAEL, o’er the heav’nly Plain,
Advanc’d, to fight the rebel Train;
Loud Trumpets did his Wrath declare,
In MUSIC, terrible to hear:                                                             40
And when the Universe was made,
On golden Harps the Angels play’d:
And when it falls, (as fall it must)
MUSIC shall penetrate the Dust;
The Trump shall sound with the Archangel’s Breath;                       45
And, sweetly dreadful! wake the Dead from Death.

NOTES:

6 Lyre “A stringed instrument of the harp kind, used by the Greeks for accompanying song and recitation” (OED).

9 melancholy King An allusion to King Saul in the Bible.

10 David tun’d the trembling String In the first book of Samuel, David would play the lyre to calm Saul when the evil spirit of God was upon him (1 Samuel 16:23).

11 Spleen “Excessive dejection or depression of spirits; gloominess and irritability.” (OED).

19 Theban Turrets A structure or tower belonging to Thebes, ancient capital of Boeotia in Greece.

20 Lay “A short lyric or narrative poem intended to be sung” (OED).

21 Jericho’s Heav’n-hated Wall In the Bible Joshua is instructed to sound trumpets before taking over the city of Jericho (Joshua 6:20).

30 Seraphims Biblical angels.

31 Horeb’s Mount The mountain where Moses received the Ten Commandments from God.

32 Majesty and Flame Allusion to the Burning bush that the Lord appeared as to give Moses the Ten Commandments.

37 MICHAEL, o’er the heav’nly Plain Michael was an archangel who fought the Devil in heaven.

45-46 The Trump shall sound with the Archangel’s Breath/…wake the Dead from Death Alludes to the literary tradition of the archangel Gabriel sounding a trumpet to welcome Christ back to Earth for the Last Judgement (see John Milton, Paradise Lost, Book XI, ll. 72-76).  In the Biblical tradition, Gabriel is neither an archangel, not is it clear that he’s the trumpeter (see I Corinthians 15:52).

Source: Poems on Several Occasions, (3rd Edition) (London, 1753), pp. 49-51. [Google Books]

 Edited by Noelle Gallagher

Anonymous, “Sonnet, on the Inhabitants of London”

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ANONYMOUS

“Sonnet, on the Inhabitants of LONDON”

In London scarce a bird but may be found:
The sun-ey’d eagle borne on lofty wing,
Linnets that adulate the smile of Spring,
And ravens croaking with portentous sound:

Owls wrapt in dulness, crows tow’rd carrion bound,                            5
Parrots whose squalling notes incessant ring,
Swallows that dare to chatter near a King,
And gabbling geese nice students wish were drown’d:

Mud-haunting ducks that dabble in the street,
Fine birds of paradise with little feet,                                                       10
Peacocks that spread a gaudy-painted fan;
Grain-raking poultry, enemies to flow’rs,
The stork imperious that all things devours,
A phoenix there would be an honest man.

NOTES:

 3 Linnets A type of finch known for its pleasant song with quick trills and tweets; adulate “To flatter in an obsequious or sycophantic manner, to fawn on” (OED).

 4 portentous “Ominous, threatening” (OED).

 10 birds of paradise A family of birds found throughout the islands of New Guinea which are recognizable by the males’ highly elaborate plumage.

 13 imperious “Exercising a commanding influence; ruling, sovereign, dominant” (OED).

 14 Phoenix A bird in Greek mythology that was characteristically long lived and went through cycles of death and rebirth from its ashes. Also an early symbol of Christianity.

Source: The Gentleman’s Magazine (July, 1777), p. 345.

 Edited by Tyler Greer

Michael Bruce, “Pastoral Song”

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MICHAEL BRUCE

 “Pastoral Song”

To the tune of the Yellow-hair’d Laddie.

 In May, when the gowans appear on the green,
And flow’rs in the field and the forest are seen;
Where lilies bloom’d bonny, and hawthorns unsprung
The yellow-hair’d laddie oft whistled and sung.

II.

But neither the shades, nor the sweets of the flow’rs,                              5
Nor the blackbirds that warbled on blossoming bow’rs,
Could pleasure his eye, or his ear entertain;
For love was his pleasure, and love was his pain.

III.

The shepherd thus sung, while his flocks all around
Drew nearer and nearer, and sigh’d to the sound:                                           10
Around, as in chains, lay the beasts of the wood,
With pity disarmed, and music subdu’d.

IV.

Young Jessy is fair as the spring’s early flower,
And Mary sings sweet as the bird in her bower:
But Peggy is fairer and sweeter than they;                                                        15
With looks like the morning, with smiles like the day.

V.

In the flower of her youth, in the bloom of eighteen,
Of virtue the goddess, of beauty the queen:
One hour in her presence an aera excels
Amid courts, where ambition with misery dwells.                                            20

VI.

Fair to the shepherd the new-springing flow’rs,
When May and when morning lead on the gay hours;
But Peggy is brighter and fairer than they;
She’s fair as the morning, and lovely as May.

VII.

Sweet to the shepherd the wild woodland found,                                   25
When larks sing above him, and lambs bleat around;
But Peggy far sweeter can speak and can sing,
Than the notes of the warblers that welcome spring.

VIII.

When in beauty she moves by the brook of the plain,
You would call her a Venus new sprung from the main:                                30
When she sings, and the woods with their echoes reply,
You would think than an angel was warbling on high.

IX.

Ye Pow’rs that preside over mortal estate!
Whose nod ruleth Nature, whose pleasure is Fate,
O grant me, O grant me the heav’n of her charms!                                         35
May I live in her presence, and die in her arms!

NOTES:

Title Laddie A term of endearment for a young male in the eighteenth century. (OED)

1 gowans A general term for white or yellow flowers (OED).

3 bonny “From a Yorkshire dialect meaning “pretty” (Grose); hawthorn A thorny bush or small tree (OED).

6 warbled To sing softly (OED), bow’rs   Shady place within the trees (OED).

14 bower A young ladies room or cabin (OED).

19 aera Archaic form for “era” (OED).

26 lark General term for a bird (OED); bleat The crying of a lamb or goat (OED).

30 Venus Roman goddess of love and beauty (OED).

Source: Poems on Several Occasions (London, 1770), pp. 14-17. [Google Books]

 Edited by Christopher Lara

Richard Cumberland, “Envy”

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[RICHARD] CUMBERLAND

“Envy”

Oh! never let me see that shape again!
Exile me rather to some savage den,
Far from the social haunts of men!
Horrible phantom! pale it was as death,
Consumption fed upon its meagre cheek,                           5
And ever as the fiend essay’d to speak,
Dreadfully steam’d its pestilential breath!
Fang’d like the wolf it was, and all agaunt,
And still it prowl’d around us and around,
Rolling its squinting eyes askaunt,                                                10
Wherever human happiness was found.

Furious thereat, the self-tormenting sprite
Drew forth an asp, and (terrible to sight)
To its left pap th’ envenom’d reptile prest,
Which gnaw’d and worm’d into its tortur’d breast.                     15
The desperate suicide, with pain,
Writh’d to and fro, and yell’d amain;
And then, with hollow dying cadence, cries—
“It is not of this asp that ENVY dies;
‘Tis not this reptile’s tooth that gives the smart;                           20
‘Tis others’ happiness that gnaws my heart.”

NOTES:

 6 essay’d Tried.

7 pestilential “Carrying pestilence or epidemic disease, esp. bubonic plague” (OED).

10 askaunt “With suspicion or mistrust” (OED).

12 sprite Spirit.

13 asp “A small, venomous, hooded serpent, found in Egypt and Lybia” (OED).

14 pap Breast (OED).

17 amain “With full force” (OED).

Source: The Gentleman’s Magazine (August, 1791), p. 759.

Edited by Louise Noble

James Graeme, “Rona: An Elegiac Ballad”

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JAMES GRAEME

“RONA: An Elegiac Ballad”

 “The noise of war is on the breeze,
And can Hidallan stay?
My soul is in the strife of shields—”
He spoke, and burst away.

O! where shall Morna’s maid repose,                                    5
‘Till heroes have their fame?
On Morna’s silent hill of hinds,
Or by its rushy stream?

But what if in the hour of blood
The lovely hero fall?                                                        10
While some dark warrior hangs his shield?
A trophy in his hall!

Leave, Slumber! leave the eye of tears,
Forsake my limbs, Repose!
Lean, love-lorn maidens! from your clouds,                      15
And aid me with your woes.

Fair was Hidallan, as the flow’r
That dyes the dusky heath;
But raise not, bards! the mournful song
Around his stone of death.                                           20

How fell the hero? In his might,
Amid his growing fame!
Not feeble was Hidallan’s foe,
His sword a meteor’s flame.

No more shall Morna’s hall rejoice,                                     25
The feast of shells be spread;
The sigh of Rona’s secret soul,
In Death’s dark house is laid.

Lour not on Rona from your cloud,
The rolling of your rest!                                                 30
Not weak, Hidallan! was my sire,
No fear disturb’d his breast.

In aged Cairbar’s lonely hall,
The strife of heroes rose;
His was Rivine’s stolen glance,                                             35
And many were his foes.

In strength he grasp’d his sword of fire,
The stoutest started back:
Not weak, Hidallan! was my sire,
Nor is his daughter weak.                                             40

Ah! whether rolls thy airy hall?
The sky its blue resumes;
Her father’s sword prepares the cloud,
On which thy Rona comes.

 NOTES:

Title Rona The characters who appear in this poem are taken from The Poems of Ossian (1760) by James Macpherson, a collection of poems Macpherson claimed to have translated from Gaelic word of mouth but were, in truth, largely poems of Macpherson’s own creation based loosely in Gaelic or Celtic myths. Rona is the only character mentioned in this poem that does not appear in Macpherson’s The Poems of Ossian. The poems do, however, mention a character named “Ronnan,” who is the male lover of Rivine mentioned in line 35 here (James Macpherson, The Poems of Ossian).

2 Hilladan The son of Lamor, one of Fingal’s heroes, whose love had been slighted by the woman Comala. He debuts in the poem “Comala” in The Poems of Ossian (David Scott Kastan, The Oxford Encyclopedia of British Literature, 170; James Macpherson, The Poems of Ossian).

5 Morna Also known as Muirne—first appears in “Fragment 14” by James Macpherson prior to the release of The Poems of Ossian; debuts in “Carthon” in The Poems of Ossian as the daughter of Cormac (King of Ireland), sister of Classammor, wife of  Comhal, mother of Fingal; “fairest of maidens” and “beloved by all” (James Macpherson, The Poems of Ossian).

5 Morna’s Maid A maid whose proper name is Moina. In “Fingal, Book One” Cuthullin refers to her as the “maid.” Moina is the daughter of Reuthamir, wife of Clessammor, and mother of Carthon (James Macpherson, The Poems of Ossian).

7 Hinds “Female deer, especially of the red deer” (OED).

13 Slumber The Gaelic goddess of sleep and dreams, Caer Ibormeith (Edain McCoy, Celtic Women’s Spirituality, 246).

26 The feast of shells “The ancient Scots, as well as the present Highlanders, drank in shells; hence it is that we so often meet, in the old poetry, with ‘chief of shells’ and ‘the hall of shells’” (James Macpherson, The Poems of Ossian).

28 Death Manannan mac Lir: a sea deity, the guardian of the Underworld, and the one responsible for ferrying souls to the afterlife (John Green, Celtic Gods and Heroes, 9).

29 Lour A gloomy or sullen look; a frown, a scowl (OED).

33 Cairbar First mentioned first in “Fingal, Book One” in The Poems of Ossian; he is the tyrannical lord of Atha and chief of the race of Fir-bolg; father of Degrena and Ullin, husband of Deugala, son of Borbar-duthul. He is slain by Moran, called the “hoary chief of shells,” and he kills Cormac, the father of Morna (James Macpherson, The Poems of Ossian).

35 Rivine First appears in the poem “Fragment 9” by James Macpherson prior to the release of The Poems of Ossian; also called the “fairest of maids,” daughter of Conar, sister of Connan, lover of Ronnan. At the death of her brother and her lover, she had herself buried alive beside them (James Macpherson, “Fragment 9”).

 Source: Poems on Several Occasions (Edinburgh, 1773), pp. 51-53. [Google Books]

Edited by Amanda Nelson

[Charlotte Lennox], “A Song”

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                                 [CHARLOTTE LENNOX]

                                         “A Song”

I.

In Vain I strive with Female Art,
To hide the Motions of my Heart;
My Eyes my secret Flame declare,
And Damon reads his Triumph there.

II.

When from his fond, his ardent Gaze,                             5
With Frowns I turn aside my Face;
My Cheeks with conscious Blushes glow,
And all my Soul’s Disorder show.

III.

Or when with seeming Scorn I hear
The Youth his tender vows prefer;                                    10
From my fond Breast reluctant steals
A sign, and all the Truth reveal.

IV.

Oh, Love, all-powerful  o’er the Mind,
Art thou, to rigid rules confin’d?
And must the heart that owns thy sway,                          15
That Tyrant Customs Laws obey?

V.

Oh! let me break the cruel Chain,
And freely own my tender Pain:
By harsh Restraint no longer sway’d,
Confirm whate’er my Eyes have said.                                 20

NOTES:

 1 Female Art Artifice; “the action of an artificer; the making of something by art or skill (OED).

4 Damon A male figure from Greek mythology that represents a good friend, mate, or cherub (Johnson).

16 Tyrant Customs Laws Laws that are based on traditional, or customary practice; habitual behavior. Often personified by women poets in this period as a “tyrant” because oppressive to women generally.

Source: Poems on Several Occasions (London, 1747), pp. 56-60. [Google Books]

Edited by Larica Fantasia Jacko

“Posthumus,” “The Partridges: an elegy”

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“Posthumus”

 “The Partridges: an elegy. Written on the 31st of August, 1788”

 Ill-Fated birds, for whom I raise the strain,
To tell my lively sorrow for your fates;
Ye little know, ere morn shall gild the plain,
What drear destruction all your race awaits.

While innocently basking in the ray,                                                          5
That throws the lengthen’d shadows o’er the lawn,
Unconscious you behold the parting day,
Nor feel a fear to meet the morrow’s dawn.

Could man like you thus wait the ills of life,
Nor e’er anticipate misfortune’s blow,                                              10
He’d shun a complicated load of strife,
Greater than real evils can bestow.

Ev’n now the sportsman, anxious for his fame,
Prepares the tube so fatal to your race;
He pants already for the glorious game,                                                  15
And checks the lingering hours’ tardy pace.

Raptur’d he’ll hie him, at the dawn of day,
With treacherous caution tread your haunts around,
Exulting rout his poor defenceless prey,
Then bring the fluttering victims to the ground.                             20

Yes! while he gives the meditated blow,
And sees around the struggling covey bleed,
His iron heart a barbarous joy shall know,
And plume itself upon the bloody deed.

For shame! Can men who boast a polish’d mind,                                  25
And feelings too, these savage pastimes court?
In such inhuman acts a pleasure find,
And call the cruel desolation—sport?

Thousands that graze the fields must daily bleed,
Necessity compels—for man they die                                             30
But no excuse necessity can plead,
To kill those harmless tenants of the sky.

By heaven privileg’d they build the nest,
They take the common bounty nature yields,
No property with vicious force molest,                                                   35
But pick the refuse of the open fields.

Then why, if God this privilege has given,
Should we pervert great nature’s bounteous plan?
For happiness is sure the end of heaven,
As well to bird and insect as to man.                                               40

Like us they move within their narrow sphere,
Each various passion of the mind confess;
And joy and sorrow, love and hope and fear,
Alternate pain them, and alternate bless.

Yes! they can pine in grief—with rapture glow                                       45
Their little hearts, to every feeling true:
Like us conceive affection, and the blow
That kills the offspring, wounds the mother too.

Then bid your breasts for nobler pastimes burn!
Let not such cruelty your actions stain!                                           50
Humanity should teach mankind to spurn
The pleasures purchas’d by another’s pain.

 NOTES:

 Author   “POSTHUMUS” appears at the conclusion of the poem followed by “Canterbury.” “POSTHUMUS” is most likely the author’s pseudonym, while “Canterbury” is most likely where the author had lived.

 1   raise the strain Here the phrase means something like “write this poem.” Possibly also an allusion to the hymn “Come, Ye Faithful, Raise the Strain” by St. John Damascus.

 17 hie “To cause to hasten; to hasten, urge on, bring quickly” (OED).

 19 rout “Of a person: to cry out; to roar, bellow, to shout” (OED).

22 covey “A brood or hatch of partridges; a family of partridges keeping together during the first season” (OED).

Source: The Gentleman’s Magazine, vol. 63 (February 1788), p. 824.

 Edited by Amanda Boyer

Mary Masters, “The Female Triumph”

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MARY MASTERS

“The Female Triumph”

 SWELL’D with vain Learning, vainer man conceives,
That ‘tis with him the bright Minerva lives;
That she descends to dwell with him alone,
And in his Breast erects her Starry throne:
Pleas’d with his own, to Female Reason blind,                                     5
Fansys all Wisdom in his Sex confin’d.
Proudly they boast of Philosophick rules,
Of Modes and Maxims taught in various Schools,
And look on Women as a Race of Fools.
But if CALISTA’s perfect soul they knew,                                                10
They’d own their Error, and her Praise pursue.
Centered in her the brightest Graces meet,
Treasures of Knowledge and rich mines of Wit.
Her Thoughts are beautiful, refin’d and new,
Polish’d her language and her Judgment true;                                    15
Each Word deliver’d with that soft address,
That as she speaks the melting Sounds we bless.
O! I could praise her without doing wrong,
Could to the subject raise my daring Song;
Were I enrich’d with PRIOR’s Golden Vein,                                           20
Her I would Sing in an exalted Strain;
Her Merit in the noblest Verse proclaim,
And raise my own upon CALISTA’s fame:
Her elevated Sense, her Voice, her Mien,
Her innate Goodness, and her Air Serene,                                          25
Should in my Lays to future Ages shine,
And some new Charm appear in ev’ry Line.

Fir’d with the Theme how great would be the Flight?
In what unbounded Numbers should I write!
Each Line, each Word, would more majestic grow,                             30
And ev’ry Page with finished Beauty glow.

But me alas the tuneful Nine disdain,
Scorn my rude Verse, and mock my feeble Strain:
No kind Poetick Pow’rs descend to fill
My humble breast, and guide my trembling Quill:                              35
My Thoughts, in rough and artless Terms exprest,
Are incorrect and negligently drest.
Yet sure my just ambition all must own
The well-chose Subject has my Judgment shown
And in the weak Attempt my great Design is known.                         40

NOTES:

2 Minerva Ancient Roman goddess of wisdom and war (www.newworldencyclopedia.org).

10 Calista Potential reference to a female contemporary or companion of the author; Latin feminine form of the Greek name ‘Calisto’ (www.theoi.com).

20 Prior Contemporary poet Matthew Prior (1664-1721), known in the period for his facility with meter and rhyme.

24 Mien “The look, bearing, manner, or conduct of a person, as showing character, mood” (OED).

32 Tuneful Nine The Greek muses.

Source: Poems on Several Occasions (London, 1733), pp. 8-10.

Edited by Taryn Osborne

[Mary Barber], “To a Lady, who invited the Author into the Country”

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[MARY BARBER]

“To a Lady, who invited the Author into the Country”

HOW gladly, Madam, would I go,
To see your Gardens, and Chateau;
From thence the fine Improvements view,
Or walk your verdant Avenue;
Delighted, hear the Thrushes sing,                                              5
Or listen to some bubbling Spring;
If Fate had giv’n me Leave to roam!
But Citizens must stay at Home.

WE’RE lonesome since you went away,
And should be dead –– but for our Tea;                                     10
That Helicon of female Wits;
Which fills their Heads with rhyming Fits!
This Liquor seldom heats the Brain,
But turns it oft, and makes us vain;
With Fumes supplies Imagination,                                              15
Which we mistake for Inspiration.
This makes us cramp our Sense in Fetters,
And teaze our Friends with chiming Letters.

I GRIEVE your Brother has the Gout;
Tho’ he’s so stoically stout,                                                            20
I’ve heard him mourn his Loss of Pain,
And wish it in his Feet again.
What Woe poor Mortals must endure,
When Anguish is their only Cure!

STREPHON is ill; and I perceive                                                      25
His lov’d Elvira grows so grave,
I fear, like Niobe, her Moan
Will turn herself and me to Stone.
Have I not cause to dread this Fate,
Who scarce so much as smile of late?                                         30

WHILST lovely landscapes you survey,
And peaceful pass your Hours away,
Refresh’d with various blooming Sweets;
I’m sick of Smells and dirty Streets,
Stifled with Smoke, and stunn’d with Noise                               35
Of ev’ry Thing —- but my own Boys;
Thro’ Rounds of plodding doom’d to run,
And very seldom see the Sun:
Yet sometimes pow’rful Fancy reigns,
And glads my Eyes with sylvan Scenes;                                      40
Where Time, enamour’d, slacks his Pace,
Enchanted by the warbling Race;
And, in Atonement for his Stay,
Thro’ Cities hurries on the Day.

O! WOULD kind Heav’n reverse my Fate,                                   45
Give me to quit a Life I hate,
To flow’ry Fields I soon would fly:
Let others stay —- to cheat and lye.
There, in some blissful Solitude,
Where eating Care should ne’er intrude,                                    50
The Muse should do the Country Right,
And paint the glorious Scenes you slight.

Dublin, 1728

NOTES:

2 Chateau A stately residence or estate.

8 Citizens In this context, city-dwellers.

11 Helicon “Name of a mountain once sacred to the Muses from Greek mythology, often used allusively in reference to poetic inspiration” (OED).

17 Fetters “Anything that confines, impedes, or restrains; a check, restraint” (OED).

19 Gout “A specific constitutional disease occurring in fits, usually hereditary and in male subjects; characterized by painful inflammation of the smaller joints” (OED).

25 Strephon Common masculine name used for male lover in pastoral poetry (Encyclopedia Britannica).

26 Elvira A proper feminine name of Germanic origin (Online Dictionary).

27 Niobe “Of ancient Greek origin refers to an inconsolably bereaved woman, a weeping woman” (OED).

40 sylvan Relating to a wood or woods (Johnson).

Source: Poems on Several Occasions (London, 1735), pp.135-38. [Hathi Trust]

Edited by Ashley-Nicole Cortez